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Can Gravitas comment on the worthiness of the source?
The information about the political origins of the contemporary Ganesha Caturthi comes from Paul B. Courtright's Ganesa: Lord of Obstacles, Lord of Beginnings (Motilal 1985). Courtright writes:
"Since the fall of the Peshwa dynasty in 1818, the annual festival to Ganesa had not enjoyed official recognition in Maharashta although it continued to be observed with much eclat in Benares. It had, however, continued as a family tradition and neighborhood festival, particularly amongst Brahmins, in Pune.
In 1894, Tilak and his associates transformed the Ganesa festival by adding a public dimension that lasted several days between the time the images were installed in the homes and when they were taken for immersion. Singing groups [melas] composed songs of political protest and social concerns to accompany the traditional devotional devotional songs to Ganesa that were sung in homes and temples."
What Courtright says is that Tilak and his associates revitalised an existing festival and made it into a grand public spectacle with the distinct aim of unifying the different strata of Hindu society (i.e. Brahmins & non-Brahmins) and of denouncing foreigners (the British, primarily, but also Muslims).
There's a lot more to it than what I can say here though - if you're interested, read the book. It is is well-researched and thorough - I'd certainly reccomend it to anyone with an interest in Ganesha, although it is rather dry in comparison to John Grimes' Ganapati: Song of the Self.
Illmatic & Fourth, reading about the political undertones of Ganesha Caturthi hasn't affected my personal affection & devotion for Ganesa. |
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